The Incomplete Collection and Channeling Josiah Wedgwood are well-documented examples of Wedgwood-inspired exhibitions. Yet the grander tale of Wedgwood’s influence over my creative practice is better told - and better understood - through moments in the studio.

I view these images as examples of 1) a study of architecture, 2) an elapsed timeline of compositional calibration, 3) documentation of trial, error, failure, and learning, and 4) proof of how much I still have to learn.

What I enjoy most about focusing on Wedgwood is that it forces me to spend a considerable amount of time studying antiquities. I bounce back and forth between 4th C. BCE and 18th C. AD, looking for similarities and differences while trying to educate myself on age-old forming processes. I still don’t know how Greek potters did it. I still don’t know how Wedgwood did it. By learning through making, I’m getting closer to understanding both.